Organization

Cantante

Ana Quintans

Zenobia

Contratenor

Valer Sabadus

Aureliano

Tenor

Anicio Zorzi Giustiniani

Ormonte

Raffaella Milanesi

Filidea

Filippo Mineccia

Cleonte

Maria Grazia Schiavo

Lidio

Director(a) orquestal

Marcello Di Lisa

MusikTheater an der Wien

Orchestra

Concerto de' Cavalieri

italiano

Zenobia, regina de' Palmireni

Viena

Austria

Theater an der Wien

Public

Válido

Zenobia, the queen of Palmyra, and her son Silvio could only be captured by the Roman emperor Aureliano because Zenobia's own governor Ormonte betrayed his homeland. Aureliano falls in love with Zenobia, but she does not want to submit to him. Then he uses the terrible weapon of blackmail: If Zenobia does not obey, he will kill her son. She remains steadfast against the emperor, but collapses when her son is taken away. A little later the emperor overhears a conversation between Ormonte and Zenobia: Zenobia is supposed to get involved with Aureliano in order to then murder him. But here, too, Zenobia remains steadfast and resolutely rejects this proposal. This in turn compels Aureliano so much respect that he returns Palmyra to her and releases her son. Oromonte is banished. In addition to the characters involved, the virtue of Constantia, steadfastness, plays a major role. It is Zenobia's moral compass, because it resists the advances of Aureliano, although her son's life is in danger, but also the possible revenge on Aureliano offered by the traitorous Ormonte. Her steadfastness pays off as she regains her freedom, her kingdom and her son. Apart from Zenobia, the libretto largely dispensed with deep emotional portraits of the characters. Tommaso Albinoni first appeared as a composer in 1694: In addition to a collection of instrumental works, his first opera was for she resists Aureliano's advances, although her son's life is in danger, but also the possible vengeance on Aureliano offered by the traitorous Ormonte. Her steadfastness pays off as she regains her freedom, her kingdom and her son. Apart from Zenobia, the libretto largely dispensed with deep emotional portraits of the characters. Tommaso Albinoni first appeared as a composer in 1694: In addition to a collection of instrumental works, his first opera was for she resists Aureliano's advances, although her son's life is in danger, but also the possible vengeance on Aureliano offered by the traitorous Ormonte. Her steadfastness pays off as she regains her freedom, her kingdom and her son. Apart from Zenobia, the libretto largely dispensed with deep emotional portraits of the characters. Tommaso Albinoni first appeared as a composer in 1694: In addition to a collection of instrumental works, his first opera was her kingdom and her son again. Apart from Zenobia, the libretto largely dispensed with deep emotional portraits of the characters. Tommaso Albinoni first appeared as a composer in 1694: In addition to a collection of instrumental works, his first opera was her kingdom and her son again. Apart from Zenobia, the libretto largely dispensed with deep emotional portraits of the characters. Tommaso Albinoni first appeared as a composer in 1694: In addition to a collection of instrumental works, his first opera wasZenobia, regina de 'Palmireni premiered at the Teatro Santi Giovanni e Paolo in Venice. It was a great success for the 23-year-old who learned the job of making playing cards in his father's company. From then on Albinoni remained loyal to music and quickly became one of the most important composers in Europe, creating an extensive oeuvre that was quickly forgotten. Only seven of the assumed 50 operas are currently identified. The first modern performance of Zenobia took place at the Damascus Opera House in Syria in 2008 - historic Palmyra was on the territory of the modern city of Tadmur, about 250 km from Damascus.

English

Zenobia, regina de' Palmireni by Albinoni, De (2021/2021), Director Marcello Di Lisa, Theater an der Wien, Viena, Austria

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